Scott McCloud: Understanding comics The speech below answers some of the deepest and most creative questions, from the history of comics to concepts and visions for the future. In particular, Scott McCloud explains that although his father was blind, he was a great scientist, inventor, and soldier who taught him scientific knowledge, philosophy, and attitude. He explains that he is working on drawing comics that are far from it. However, you can discover through his speeches that his knowledge of comics is very scientific, philosophical and future-oriented. Through his speech, I was impressed by the fact that ancient Egyptian murals, which were approached with common sense, were interpreted from a new perspective. Above all, I learned that comics are a visual medium in which responses and requests are made, and a medium that stimulates imagination through continuous questioning. He emphasizes that comics deserve attention as future art because unlike other art genres, there is a chronological order. In other words, the method of viewing comics made through silent mutual agreements about space and time can go beyond the limits of simple printing and rapidly adapt to changes in media such as augmented reality in the future. In this part, I was amazed at the wisdom of the foresight of the ancestors who first drew cartoons in 1450, ancient murals, and Egyptian murals. In other words, the author emphasizes that comics are the most optimized media tool for the upcoming future. The author emphasizes that the future is an era of finding persistent mutations. In particular, media is not a simple monitor, box, or machine, but a window through which we can look into the world. Only the shape of these windows will change, and we will be able to use infinite canvas due to the discovery and development of technology that will continue at this moment, not just in the future. At this time, cartoons that can explain time and space are expected to become more popular. Through his speech, I was able to discover the importance and role of our major media, trends and cartoons in the future.
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Student's artworks by Elbert, Sophia and Cindy Below are the paintings drawn by Sophia, Albert, and Cindy in order. Drawing the eyes, nose, mouth and face in proportion is a big challenge for children. But the kids took on a new challenge in style.
The reason why children can take on these difficult challenges naturally and easily is because they have the courage to draw and the desire to enjoy drawing itself. These intrinsic factors—motivation, passion, and enjoyment of painting—will keep you drawing and improve your drawing skills. Personal perspectives on constructivism in a high school art class by James Francis Hesser3/23/2023 Personal perspectives on constructivism in a high school art class by James Francis Hesser * This post is related a note after reading the article, "Personal perspectives on constructivism in a high school art class by James Francis Hesser".
- To help students discover the value and power of art making so they can use it in their lives. -Recently, I surveyed my students about the painting unit they just completed. Several comments indicated that students felt there were not enough opportunities to "draw what [they] wanted". These answers made me rethink my classroom. Students seemed to prefer the projects that gave them the most creative control. So why not give it to them? My research explored what happened when I did. -Cognitive psychologists such as Piaget and Vygotsky have developed learning theories that support Dewey's philosophical premises. Piaget clarified the need for context in learning, proposing the theory that learning is based on experience that follows cognitive development and challenges concepts understood from previous experience (Foote, et al., 2001; Marlowe & Page, 2005; Piaget & Inhelder, 1966/2000). . Like Piaget, Vygotsky (1978) linked learning to challenging prior experiences, but believed that learning led rather than followed cognitive development. Vygotsky also added a key element to the mix: social interaction. Vygotsky described learning as a social process in which knowledge is constructed through interactions with knowledgeable mentors and peers. These ideas form the basis of social constructivism." - There are three questions in the survey. (1) Why do you make art? (2) What do you want to make art about? (3) ) What do you use to create art? Surveys have shown that most students do art to express their feelings, interests, or experiences, and drawing is particularly expressive, but not many opportunities to draw. - The facilitator explored tempera, charcoal drawing, compositional forms and observational painting of Cubism. -Giving students opportunities to work with new pictorial mediums and developing skills for students. Authors include vanitas paintings, self-portraits, self-portraits, We created unit structures inspired by skeletal constructivism that began by exploring thematic content in dramatic painting. Using both collaborative and individual work, students have constructed and completed individual acrylic paintings of various dimensions that explore themes and ideas of personal interest. Students were required to include at least one rendered object from Observation in their drawing. In the process, students build skills in color theory, composition, acrylic painting techniques, and visual metaphor composition. Once the class started, I was immediately confronted with one of the most consistent criticisms of constructivist education: the difficulty of classroom management. people study -By the time students were working in groups of three and planning the content and organization of their drawings, they took on greater responsibility for their learning and actions. -In the process of asking a question, students made important discoveries about themselves, how they work, how they think, what their peers think, and what it takes to be a good leader. Throughout the unit, I was constantly reminded that "at the heart of the constructivist approach... is the understanding that students have control over their own learning" (Milbrandt et al., 2004, p. 20). Vygotsky (1978) believed that students' learning depended on their area of proximal development, that is, their ability to solve problems beyond their actual developmental level under the guidance of a more knowledgeable adult or mentor. -Questionable learning outcomes and abandonment of curriculum standards are among the criticisms of constructivism (Foote, et al., 2001). However, this unit allowed students to learn about art movements, literary devices, color theory, anatomy, drawing and painting techniques, world cultures, and other topics important to a thorough art education. Critical, high-level thinking is inherent in effective art-making, and constructivist frameworks can increase the opportunities for this thinking to occur. -Constructivist theory requires students to be involved in all phases of the learning process, from planning to assessment (Hochtritt, Lane, & Bell Price, 2004; Milbrandt et al., 2004; Prater, 2001). Teachers as facilitators also evaluate, but mostly help students evaluate themselves and contribute to setting evaluation criteria and processes. - Despite its imperfections, this unit clearly challenged most students. Many have created inspired works that call for improved painting techniques and the development of new ways to communicate ideas. It will be helpful to explore different methods of assessing collaboration, especially in large class sizes, and different ways to balance independence and collaboration in the creative process. Constructivist learning is a dynamic process that must be skillfully facilitated. Facilitating learning requires sensitivity and flexibility. It is not mastered overnight by teachers and students. But it's worth the effort. A review after reading "What is manga?: The influence of pop culture in adolescent art" What is manga?: The influence of pop culture in adolescent art; Masami Toku Art Education; Mar 2001; 54, 2; Research Library Research (Toku 1998, 2000; Wilson, 1997, 1999, 2000) suggests that Japanese children are an exception to the tendency to lose interest in art as they grow up. This means that during adolescence, Japanese children tend to continue to acquire the art of presenting visual narratives in the form of manga or manga. Piagetians, including Lowenfeld and Brittain (1970), describe artistic learning as a theory invoking a hierarchical linear progression of cognitive development. However, it has been argued that children's artistic development is not always linear, and that artistic abilities often stop at the transition to art in adolescence. Read (1958), for example, explains that most artistic abilities decline between the ages of 11 and 14 due to loss of motivation and loss of artistic creativity. Children begin to realize their limits in creating realistic art. They also begin to compete with their peers and judge the relative worth of their work. This external marriage is related to the social environment. Also, children become sensitive to the criticism of art teachers. In the case of Japanese children, even after graduating from a Korean school, they continue to acquire skills to express their visual motives through manga rather than art at school. This means that instead of stopping expressing oneself through art, one develops problem-solving skills and learns visual skills to express one's thoughts through the visual representation of comics. (Wilson, 1995) In this era, understanding the mechanism of influence of pop culture elements on the artistic development of Japanese children can predict the trend of American children's artistic development in the near future. These days, regardless of culture, the influence of popular culture on children's artistic development cannot be ignored. Literally meaning “humorous drawings,” cartoons originally began as simple caricatures, as in other countries such as the United States. The origins of manga probably go back to the Chojugiga (two animals) depicted by the 12th-century painter and monk Kakuyu or Toba (1153-1140). (Yagiyama, 1990, Shotu 1983) Comics evolved into graphic narratives through the work of Hokusai Katsushika (1760-1849), who depicted ukiyo-e, or floating worlds. As the age of readers of comics expanded from children to teenagers and adults, comics gradually developed into an original style of Japanese comic books, reflecting the need to portray the complexity of human drama in graphic narratives. This trend emerged after World War II under the influence of American comic books and Disney animations. Comics have the elements of comics: pictures (depicting objects and shapes, words, speech bubbles, frames) (Natsume, 1997) The function of each element in comics differs from that in American comic books, as comics have evolved from simple caricatures or tales of good versus evil to complex stories involving different themes, such as: In comics, each element has an important function to describe a meta level of space and psyche corresponding to a complex story. The new generation who have been exposed to comics start to have higher expectations for the story as they get older. Along with readers' expectations, the story of comics developed to express more human drama than caricatures or mere short stories. Along with Japan's economic development in the 1970s and 1980s, the comics market developed rapidly and comics themselves became popular culture. For Japanese children, cartoons were appealing as a visual means to realize their dreams and become anything they wanted in virtual reality. (Wilson, 1988, 1997) In response to this popular culture phenomenon, the Japanese Ministry of Education decided in 1998 to reflect the benefits of popular culture in the compulsory education, state-designated art education curriculum for the 8th and 9th grades. By drawing ordinary life scenes in sequential frames through cartoons, students become interested in the life and nature around them. These cartoon activities provide students with an opportunity to find their own identity by making art more meaningful and portraying themselves in a narrative story. The role of an art teacher is not simply to teach art production skills or the absolute value of art by simply doing art or appreciating art works. Rather, it is about how to draw interest and motivation for the creation of art so that students can find themselves in their own way. Through the process of making the work and the critique of the work, you will discover what art means to your life while contemplating what the work is. To do so, as a teacher, you should introduce various ways of creating art as self-expression, including the various values of different cultures. Art teachers often have difficulty creating art programs that encourage students to create their own meaningful things. In particular, adolescence is physically like an adult, but mentally it is still developing. As a result, if we introduce our own values without thinking about students' tastes and aesthetics in art, we will face problems. To find out which art themes are most attractive to students, you need to open your eyes and see what is happening in the world. If there is a popular culture that attracts children's attention, such as cartoons, it is necessary to identify its strengths and weaknesses and examine the possibility of applying it to art education. Japanese pop culture critic Natsume said, ‘When you learn something, you need a driving force to like, be interested in, and have fun. In particular, it is necessary to find something that can motivate students to learn and develop critical thinking skills for students who are in a period of losing interest or motivation for art in the first year of middle school. Using the mechanics of cartoons, we might be able to help students find their own identities through narrative art. It is time to re-evaluate popular culture and motivate students to create their own values and identities by critiquing art. A review after reading the article, Adolescents and graffiti Koon-Hwee Kan Art Education; Jan 2001; 54, 1; Research LibraryAdolescents and graffiti Koon-Hwee Kan Art Education; Jan 2001; 54, 1; Research Library
The extended focus period of adolescence that guides curriculum planning has certain limitations. Because academic achievement is unimportant for many teenagers today (Meyer, 1994), schooling becomes a boring, irritating, stressful, and disturbing experience for them. In these cases, the natural tendency to drift in and out of multiple realities increases. From this point of view, adolescent graffiti is a form of escapism. This can be interpreted as a subconscious rejection of the kind of learning that does not help to effectively integrate the inner needs to construct personal meaning and promote growth. Latrinalia – Another type of private graffiti is “latrinalia,” the kind of graffiti found near toilets (Abel & Buckley, 1970). In most civilizations throughout history, creators have usually been oppressed individuals in society. For example, a slave working on monumental construction or a prisoner in prison. Gang graffiti: Gang graffiti emerged in the 1950s in the United States. This is primitive graffiti focusing on gang names or symbols adopted to mark territories and war zones. (Gomez, 1993,644) Tag: A tag is simple, distinct text like a signature. I adopted Hat Tagger for a variety of personal reasons. (Gomez, 1993,645) The invention of magic markers and improvements in spray paint in the 1960s made aging possible and popular in the United States. Sculpture: Derived from the word ‘masterpiece’, this is a large-scale laboratory piece with refined details commonly found in subways and on the exteriors of buildings. How did graffiti become art? High art at the time was criticized for being too institutionalized and intellectual. There was a great discrepancy between the art in the museum and the experience of the common people. Art critic Rene Richards, who witnessed the progressive decline of minimalism over the past decade, highlighted the art of graffiti in the prestigious high art magazine Art Forum. Art dealers looked for ‘new blood’ to revitalize the art market. Thus, graffiti has become an art product worth investing in. Graffiti art was also influenced by hip hop culture prevalent at the time, including rap music disc jockeys and break dancing. (Hager, 1985) Typical examples are Jean-Michel Basquiat and Keith Halling in the 1960s. By the 1990s, hip-hop culture had lost its nascent vitality, but had become known worldwide and accepted as part of mainstream American culture. Graffiti art became commercialized around this time, appearing in advertisements for Nike and Sprite, and other marketing strategies aimed at youth culture reinforced the concept of graffiti as a form of artistic expression for the younger generation. Graffiti art is a unique and holistic aesthetic that offers novelty in both language and visual simplicity. For many young people who disdain conformity to social norms and cultural conventions, graffiti represents a means of rebelling against society's established tastes. (Ferrell, 1995) The museum exhibits they visit on school field trips may represent traditional adult tastes, but not a shot of Coca-Cola. Graffiti equates to the search for alternative forms of expression, non-normative forms of communication such as the use of codified language among peer groups. Also, in urban life, graffiti is the most familiar form of visual culture in daily life. ‘You are standing at the station. Everything is gray and gloomy. Suddenly, one of the graffiti trains lights up the place like a large bouquet from Latin America. ‘ Famous artist Claes Oldenburg praised the beauty of graffiti. Howarth, 1989 Many young graffiti artists have received mass media attention for their ‘unique artistic courage’. Keith Haring's graffiti art is also widely known. His work appears in all forms of commercial art and museum memorabilia, many contemporary art textbooks, exhibitions across the United States, and even many children's art books. So, does graffiti fit in the art curriculum? The undesirable fact is that graffiti has become a costly social problem in many cities around the world. US cities spent about $4 billion on graffiti cleaning in 1994. (Walsh, 1996) Cleaning graffiti in schools is a challenge for many teachers, principals, and staff. School vandalism is also a growing problem in many western countries. This drains the education reform budget and delays upgrade plans. (Zwier & Vaughan, 1984) According to the authors' research, most young adolescents (ages 12-13) cannot differentiate between graffiti art and vandalism. It is natural for them to feel confused that the art world and society are sending contradictory messages. However, adolescence is a great time to establish one's own identity, away from the pursuit of autonomy and from dependent and conformist ways. However, there is a possibility that the message of youth heroism is negatively expressed due to the pressure of the group due to the contagion of behavior and values within the peer group at this time. It is also a time when it is difficult to distinguish between adventure and courageous action, which is reckless courage, so caution is required. In these sensitive times, there is what it takes to make graffiti a part of youth education. 1. In pedagogy, there should always be serious consideration of age appropriateness. Do not try to introduce controversial art forms and content to all students. 2. Seek approval from all authorities in the school and district, including the principal and other peers. There are 12 states with laws that address vandalism and damage to school property. 3. We fully consider the community and its interests. 4. Engage a decent graffiti writer or artist already known to your neighbors. Go to the related post. |
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